pics to come later
126. Harold and Maude (Hal Ashby, 1971)
This is a uniquely irritating film. The two characters at the heart of it, over and over, register as false. Their freedom isn't earned or authentic, but rather the designs of a screenplay enamored with the outlandishness of its premise. Ashby does what he can, and the staging is usually handsome and precise, but he can't really salvage much here (the macabre images are maybe the most striking thing here). However, when the film suddenly seizes upon the image of Maude's concentration camp tattoo, everything is lost.
127. The Other (Robert Mulligan, 1972)
Interesting Mulligan take on gothic horror. Best at the moments when the idyllic nature of its setting dominate and Mulligan can focus in on his child protagonist. The performance is quite good and understands exactly how children move through their environment (never walk when you can run) and how they create their own private mythology. Not so good when it belabors its plots reveals and has to fulfill its horror film machinations (although the places it ends up going are quite dark and surprising). Still, the project seems an odd fit for Mulligan's strengths and registers more as a curio.
128. Ujamii Uhuru Schule Community Freedom School (Don Amis, 1974)
Another L.A. Rebellion project. Takes us inside an Afrocentric learning academy. Lots of color and life here, but also history. Lots of chanting and singing. More interesting than illuminating.
129. Our Lady of the Sphere (Larry Jordan, 1972)
Interesting experimental animation with a lovely use of color. Still, the soundtrack to this stuff often gets on my nerves.
130. Quasi at the Quackadero (Sally Cruikshank, 1976)
I can't find the use for this.